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My Gear


Found 5 results

  1. Pawel Pawlikowski/Lukasz Zal, the polish director/cinematographer duo behind the Academy Award winner for Best Foreign Language Film "Ida", bring us another great black and white, 1.33 ratio, short and sweet movie - "Cold War" Cold War (2018) - Trailer Here and there some "Ida" like framing can be seen - talent in bottom half of frame, but very occasionally. Nice visuals, great music... "Dwa serduszka cztery oczy ojojoj" (Two hearts, four eyes...)
  2. I'm currently filming a western, shot in the west (Colorado), on film. It's called THE LAST RESORT. Shooting with a Canon 1014XL-S. Filming it on Kodak Tri-X 7266. On location. So far, the film looks amazing! This is a Warehouse 9 Production. I wish I could post a picture, but the image requirements are too small... I don't have a teaser yet, but check out my other film projects. https://vimeo.com/user2463860
  3. Hi guys! Here is a new video that I did recently. Happy to be able to share it! I would be glad if you watch it and even more glad if you let me know what you think about it! Hope someone will like it and also hope that someone will give me usefull critic. Also did a Behance project of the video. I'll be glad if you take a look at this too!
  4. Hello everyone, The other day my cinematography professor mentioned the Laboratoy Aim Density Control Film method for black and white film. It wasn't very clear to be honest and, since I can't find anything online, I was hoping someone could help me understand this better. The explanation revolved around the formula: DLAD = D0 + 0.70, where D0 is the minimum density of the film, and 0.70 is the LAD number given by Kodak for B/W film stocks. My professor concluded saying that the result is the value of the normal exposure and so, in this way, we can understand how our material is different from the normal exposure. With normal exposure he's referring to the 18% gray, but I'm not really following here. Does that mean that the result of that formula is giving us the density of a film at 18% gray? And if so, is there a standard value for that density? Can anyone help me? Thanks in advance
  5. Very surprised that there's no thread about the film so far. It's available today on Netflix and is also showing in 600 locations across the world (the film was released two weeks earlier in theaters exclusively), they're actually pushing this very hard in Mexico (there are even mobile cinemas ! that go around to show the film in certain locations), domestically as well, it's already been sweeping many awards, many for best picture, best director and best cinematography. Chivo was supposed to shoot the film, they prepped and he had to drop out. Cuaron then took over and shot the film himself (Galo Olivares rumored to be the co-DP at some point, has a credit as cinematography collaborator (never saw that before) and camera operator). Here's the second trailer: I'd advise of course to watch this on Netflix to get a better quality. Chivo & Cuaron discussed the film at a panel: https://variety.com/2018/artisans/in-contention/alfonso-cuaron-details-roma-cinematography-with-gravity-dp-emmanuel-lubezki-1203085424/ The film has insanely great reviews and it's all deserved honestly. I couldn't get into it at first, it felt like I feel watching Children Of Men or Gravity which is to say, I admire and respect those films more than I like them. I LOVE A Little Princess and Harry Potter & The Prisoner Of Azkaban though, Great Expectations is quite good too and Y Tu Mama Tambien is strong. But then something clicked about halfway through the film and I was in completely. The film is completely immersive, there is no score but the sound design is very strong, I felt like I was witnessing this slice of life in person. Cuaron takes his style one step further by adopting a very minimalistic approach. The camera often pans across the scene, left to right, right to left, observing. At times, it's simply static and lingers. Other times, there are hypnotizing tracking shots (one just following characters walking across a dirt road, with a gorgeous vista and the mountains in the background, the camera is higher up on a hill. Another one on the beach, so simple and yet so powerful). The B&W is also gorgeous, absolutely gorgeous, so pure. Cuaron explained why he shot this on the Alexa 65 and not on film and he wanted it, those memories of his, to be pristine. Anyway, Cuaron has apparently pushed for theaters in the US to show the film either on 70mm or Dolby Atmos, but considering it's playing in many places that have none of those things, I guess he loosened up. Do try to watch it on the BIG screen with quality sound, it is worth it, I didn't think so at first but it is. A funny tidbit: the ending credits state the film was shot entirely on 65mm which is obviously not true as it's not film, but for some reason, Netflix and Cuaron have been pushing that narrative a lot :D
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